adminThe CCA, Lagos, presented the second edition of its international art programme under the theme of “History/Matter”.
In 2010, CCA, Lagos, began with “On Independence and The Ambivalence of Promise”, an innovative programme with the aim of filling a gap in the art education curricula in Nigeria and other African countries, which tend to ignore the critical methodologies and histories that underpin artistic practice.
Using the format of part art workshop, part residency, and part art academy, over the course of a month, “History/Matter” focused partially on technique and primarily on methodology, critical thinking, the implementation of conceptual ideas as well as the development and role of curatorial practice.
Continuing within the parameters of engaging the past in the present, “History/Matter” encouraged the consideration of the discursive nature of “History” not simply in terms of past events, narratives and occurrences but also, and primarily, as it relates to the present world. The questions posed were, “What does ‘History’ mean to us?
Why does ‘History’ matter? and What place does ‘History’ have in contemporary visual arts/curatorial practice?”
Participating artists pursued projects that engaged the complexities of the present through an historical lens. In addition to emphasising strategies for engaging the past and present, the arts programme stressed the critical role that materials play in the execution of ideas.
The rigorous questioning of material and media in relation to individual African ideas was encouraged. The programme unfolded through a series of lectures, seminars, portfolio reviews, and group critiques as well as through the pursuit of independent and collaborative artistic projects.
This year Kianga Ford spearheaded the pioneering project. The Global Crit Clinic 2.0, Lagos, which was also facilitated by Bisi Silva and Adwoa Amoah served as a curriculum module for History/Matter.
The Global Crit Clinics two-week intensive programmes rooted in the Fine Arts pedagogical studio critique, attended by Portia (Zimbabwe) was designed to serve international communities where emerging fine artists have limited access to rigorous, idea-based dialogue.
“History/Matter” has been conceived and developed by the Centre for Contemporary Art, Lagos. Project Curator: Bisi Silva Director, CCA, Lagos, and was facilitated by various project co-ordinators including: Taiye Idahor and Kemi Aderinto (Project Co-ordinators, CCA, Lagos), with Silas Matope (Curatorial Assistant, National Gallery
of Zimbabwe, Harare), and an observer Adwoa Admoah, from Foundation for Contemporary Art, Accra, Ghana.
Born March 22, 1985, at Juru Growth Point, Portia Zvavahera attended Oriel Girls’ High School in Harare, where she completed her secondary education.
She applied and was admitted to the BAT Visual Arts Studio under the auspices of the National Gallery of Zimbabwe between 2003 and 2005.
She furthered her training at the Harare Polytechnic where she majored in printmaking and painting and earned a first-class Visual Art Diploma in 2006.
Four years later her colourful palette of people clothed in bright ethnic-style garments gave her work an immediate African identity.
Zvavahera can be classified as a neo-afro expressionist artist, who is rapidly gaining an international reputation for her art in Austria, Germany, England, France,
Spain, Mexico, Sweden, USA, Zimbabwe and South Africa.
The 26-year-old artist works in impromptu, spontaneous lines with an expressive vein reminiscent of Egon Shiele (1890-1918) and Gustav Klimt (1862-1918), both Austrian painters who were part of the Vienna Sezession Group.
In 2010, Zvavahera was invited to a tri-lingual printmaking workshop at Greatmore Art Studios in Cape Town, South Africa.
Her works are laden with meaning and gestures that cover the themes of parental love, human isolation, historical injustices and indigenous religions.
Online Reporter